media literacy

Consume responsibly

It is said that “truth is the first casualty of war.” There are two aspects to this truth – that the chaos of conflict makes it difficult to discern exactly what is happening, leading to what we might now call “misinformation” and, additionally, the tendency of governments to deliberately mislead their citizens and others for strategic reasons, better known as “disinformation.” Both aspects are very much in play in the current conflict between Israel and Hamas.

There was a time when it was easy for governments to control information. At that time, also, there were editors and fairly clear and stringent (if imperfect) journalistic standards in place before a story would reach its audiences. The internet, among its good and bad characteristics, has eliminated almost all oversight.

Today, anyone with access to the internet has the potential to reach wider audiences than the most powerful person of a century or two ago – and to do so instantaneously. As a result, we are swimming in information.

In principle – in the utopian idea some may have had a few short years ago – this access to virtually unlimited resources would make every citizen capable of consuming the most information possible and empowering us to make informed decisions. This principle seems to have proved disastrously wrong. Instead of weighing the balance of opinions in the most vibrant marketplace of ideas ever imagined, many of us seek out only that information that reinforces our preexisting prejudices and fast-held opinions.

Moreover, bad actors – including governments – and unwitting innocents are purveying false information. We are manipulated by lies that are difficult to discern from fact and most of us are guilty of sharing false information without intending to do so.

We are facing the possibility of a “post-truth world,” exacerbated by technological changes and advances in artificial intelligence. Even given incontrovertible evidence, significant parts of populations choose to believe demonstrable fallacies – the most obvious one in our geographic neighbourhood being the “Big Lie” that Donald Trump won the 2020 US presidential election. Even the universal availability of contrary proof does not preclude people from coming to the wrong conclusions.

Google News and many other agencies, to their credit, have begun aggregating fact-checks from verified sources that now appear at the bottom of many news feeds. Of course, these cannot vet the things that come through our email inboxes.

The advent of artificial intelligence is going to turn what had been trickle and is now a flood of misinformation and disinformation into an absolute deluge. In this issue of the Independent alone, by coincidence, multiple stories address the risks of what is occurring and the need for media literacy and critical thinking.

All of this relates, in a very specific if not immediately obvious way, to a more positive news story in this issue. British Columbia is set to become the second Canadian province to mandate compulsory Holocaust education in the school curriculum.

Ensuring that young citizens complete their education with knowledge of the Holocaust is vitally important. The Holocaust, since well before the internet age, has been the subject of both misinformation and disinformation. Comprehensive education may help people emerge from the school system with a baseline of shared information around a seminal event in human history.

But more is needed. The problem is so vast, a broad approach is required to ensure that most of us, young and old, can discern fact from fiction.

A “supply-side” response is not going to work. There is simply no possibility of stanching the burgeoning amount of lies and misleading content online (and elsewhere). Critical thinking, media analysis, information literacy – these are crucial skills for individuals and society at large. We are way behind the curve in delivering these through our institutions.

Confronting the tsunami of misinformation and disinformation is an intractable challenge. It seems, though, that democratic countries are on the right track: we are acknowledging that it is a problem. There are individuals and organizations – in the public, nonprofit and private sectors – working to bring reliable and trustworthy news and information to the fore. But we must do our part – think twice before you forward a link or email, do your own fact-checking, subscribe to a wide variety of respected publications or channels, be civil in your discussions. It may be a cliché, but it’s appropriate here: be a part of the solution not the problem.

Efforts to reduce fake news

People can report misinformation and hateful material at FakeReporter.net.

In a world where misinformation and disinformation are coming at us in unprecedented volumes, an Israeli organization is working literally around-the-clock to flag, correct and eliminate online falsehoods – and they depend on ordinary people to inform them of lies that need addressing.

Achiya Schatz, co-founder and chief executive officer of the group FakeReporter, spoke virtually at a Nov. 2 event organized by Canadian Friends of Hebrew University of Jerusalem and Congregation Beth Israel.

“We try to leverage crowd wisdom in order to make the internet a safer place,” said Schatz.

The challenge goes far beyond reducing misleading information online, he said. The very survival of democratic societies is at stake.

“If we do not have the capacity to distinguish what’s true from what’s false,” he said, “then, by definition, the marketplace of ideas doesn’t work and, by definition, our democracy doesn’t work.”

FakeReporter’s work is painstaking. An on-call team of thousands of volunteers are connected by WhatsApp and other communication tools. When a report of unverified information comes in, it is channeled to an appropriate individual or team to investigate. They will contact government officials, military spokespeople or others who might be able to confirm or debunk the information. They post their findings on social media, disseminate it to conventional media outlets, especially those that may have spread the falsehoods, and report it to the social media or other platforms where it appears.

While the “fog of war” around the conflict between Israel and Gaza is an obvious source of fake news that keeps FakeReporter teams hopping, equally insidious efforts are fomenting internal strife in Israel.

“Arab citizens of Israel have been heavily attacked,” Schatz said of anti-Arab propaganda targeting citizens of Israel online. Posts have aimed to make Jewish Israelis believe that Arab Israelis are a threat. Photos of Arabs allegedly stalking Jewish homes and businesses turned out to be, after investigations by FakeReporter, tradespeople scoping a roofing project and municipal workers going about their business, for example. The messages, from unidentified sources, have the potential to create civil unrest inside the country amid ongoing conflicts with external terrorist groups on multiple fronts.

On the global level, FakeReporter is responding to a barrage of war-related and more routine anti-Israel material online. In response, taking the nomenclature and vision of Israel’s Iron Dome air defence system, Schatz said, his group is creating what strives to be an invincible defence against online incitement.

“We created a Digital Dome,” he said. “It’s an operation that, in one place, anyone can report hate speech, [content] glorifying terror, Hamas supporters and, generally, violence online on Meta, Google, LinkedIn and TikTok.”

The form for people to fill out is at DigitalDome.io, and the organization’s website is FakeReporter.net.

While there is an unlimited number of comparatively minor falsehoods, Schatz said his group is dedicated to confronting some specific and convoluted conspiracy theories that are going viral. Like the fantastical theories that emerged after the 9/11 terror attacks in the United States, the Oct. 7 attacks have spawned what Schatz calls the “traitors among us” conspiracies, in which Israeli security agencies are alleged to have masterminded, or at least participated in, the attacks, as a cover to attack Gaza.

While his organization is busy assessing and confronting the mass of misinformation and disinformation, individuals can do their part by consuming information critically, Schatz said.

To spot fake news, he said, several questions can narrow the field.

“Can I trust the person who wrote and distributed the news?” he said. “Is what I’m reading an opinion or a fact? Does what I’m reading make me feel rage? This question will help you understand that you are seeing something that maybe you should question.” If the “news” you saw in one place is not reported anywhere else, be very suspicious, he said.

The spread of false information is exacerbated by unwitting individuals who share what they find online.

“Before you spread anything forward, you should just breathe for a moment, look at it again with critical thinking and that would do half the job,” he said. “Don’t just spread news through WhatsApp groups and Telegram groups.”

If you find something that glorifies or promotes violence, that is racist, antisemitic or likely untrue, don’t send it to friends, send it DigitalDome.io, he said.

There are other things to consider in determining whether an item might be fake news.

“Many times, information is real but it’s not in the context,” said Schatz. A photo of a bombed building may be real, as opposed to Photoshopped. But what is purported to be in Gaza is often discovered to be from wars in Syria, Ukraine or elsewhere.

The FakeReporter team uses multiple strategies to assess the veracity of photos.

“We can recognize the vehicle,” he said, “we can geo-locate the area, understanding where it is in the world, and we can look for the information online and see, [was it] maybe published before?”

The problem is global and Schatz said governments and social media platforms must work together – or, as in the case of European legislation, governments can impose severe financial penalties on companies that do not speedily react to reports of false or dangerous information on their sites.

The European Union’s Digital Services Act makes it the responsibility of large online information companies to police and remove hate speech, disinformation and cyberbullying, as well as unsafe or illegal retail products, such as sham or life-threatening pharmaceuticals. Other countries could replicate Europe’s legislation, said Schatz.

“What is beautiful about the EU is that they have had a few countries come together and they used their power against big tech [in ways] small countries cannot,” he said. “Israel cannot do anything about it.… Even if we do pass a law, why would Facebook or Twitter care about the law that we passed? They don’t care. That’s a huge problem. What I think Canada and other countries should do is adopt what is happening in the Digital Services Act in Europe and then it’s much easier for the tech companies and for the country, because it’s just replicating what they already can do.”

All the examples Schatz used to this point were addressing the source of misinformation and disinformation. Societies also must sensitize the targets of this content by giving individuals the tools to assess what they see and hear.

“Finland, for example, understood the disinformation coming from Russia is a national threat to them,” he said. “So, they created programs, first for kids and then grown-ups, in digital literacy and information literacy and they are teaching … how to consume information.”

Dina Wachtel, Western region executive director of Canadian Friends of Hebrew University, opened the online event. Rabbi Jonathan Infeld of Congregation Beth Israel introduced Schatz and offered reflections on the topic.

Schatz warned that disinformation is at an inflection point, likely headed for an exponential increase thanks to artificial intelligence, while global responses to the problem are embryonic.

“We’re still learning,” he said. “We’re still adapting. Digital and information literacy is something that is still in its baby steps.”

A spoof on true crime

Left to right: Sophia Paskalidis, David Underhill, Drew Ogle and Mai Stone (seated) co-star in Tragedy, Slander & Wine. (photo by Sarah Cherin)

When a community theatre production ends with an actor dying on stage, the media descends on the small B.C. town. Conspiracy theories flourish and no one is above suspicion.

This is the plot of Tragedy, Slander & Wine by Jewish community member David Volpov, which premières at the NEST on Granville Island Nov. 13-19. The mystery/comedy explores, among other things, media literacy.

“My goal in writing Tragedy, Slander & Wine is to bring awareness about the issue and to invite audience members to think more critically about the media they consume. So, that’s where the idea of true crime entered the play,” said Volpov, executive director of Promethean Theatre, which is presenting the work. “I see true crime lovers popularize a lot of sensationalistic interpretations of well-known deaths. I think people tend to want to believe wild hypotheses instead of the cut-and-dried truth simply because it’s more entertaining. This conspiratorial thinking can become dangerous if it impedes on innocent people’s lives, which is what happened in real life to the town of Moscow, Idaho, after several infamous deaths.”

On Nov. 13, 2022, Ethan Chapin, Xana Kernodle, Kaylee Goncalves and Madison Mogen were stabbed to death in the young women’s off-campus (University of Idaho) house. False accusations and other misinformation proliferated, causing much harm to the community. Eventually, suspect Bryan Kohberger was charged with their murders, and his trial continues.

In Volpov’s fictional story, the play’s description notes, “The finger-pointing grows so rampant that the victim’s sister, Shannon (Mai Stone), can’t even have a healthy relationship with her own mother. Shannon’s longtime friend Alec (Drew Ogle) promises to help Shannon replenish her image in the public eye and shed her status as a pariah. But they find out that manipulating the media is harder than they anticipated. They have to get past power-hungry reporter Penelope (Sophia Paskalidis) and gatekeeping publicist Colin (David Underhill). Soon, Shannon uncovers a secret plot that upends everything she thought she knew about the tragedy.”

The play features four actors on stage and seven performers who act only on screen.

“I knew that I needed a multimedia film component in the production to spoof true crime,” Volpov told the Independent. “We filmed interviews with the townsfolk, who give the audience information about the circumstances of the mystery of the play. The film is played on TVs, which are onstage during the entire performance.”

This approach was new to many working on the production and Volpov said he appreciated the help of a few film artists who offered their guidance. In particular, he noted, “Our videographer, Bruna Xavier, and our film editor, Ian Tan, are both godsends. I’m really excited for audiences to see what this collaboration created because it’s not something that Vancouver audiences have seen before.”

Tragedy, Slander & Wine is Promethean Theatre’s sixth production. Formed in 2018, the company’s mandate is “to create work opportunities for emerging artists,” said Volpov. “There are some apprenticeships open to emerging artists in Vancouver theatre companies, but I keep hearing from my peers that these positions only take them so far. They feel stuck in what they consider a trainee limbo before they can get a shot at a role they want. That’s why Promethean puts emerging artists directly in positions of creative leadership. In that sense, we act as a launchpad for artists who want to continue expanding their practices.” (For more information, visit prometheantheatre.ca.)

photo - With Tragedy, Slander & Wine, playwright David Volpov invites audience members to think more critically about the media they consume — With Tragedy, Slander & Wine, playwright David Volpov invites audience members to think more critically about the media they consume. *(photo from Promethean Theatre)*

Volpov joined the producing team after having acted in Promethean’s first production, Saint Joan. He graduated from the bachelor of fine arts acting program at the University of British Columbia in 2020.

“Like many people who graduated then, my final play at UBC was cut short after just three performances due to COVID,” he said. “This experience really opened my eyes…. I always knew acting is a difficult profession, but to see virtually every theatre and movie set shut down spiked my existential worries a lot. There’s a silver lining, though. I returned to playwriting during the lull period in 2020 because I realized that writing was a way I could create art while social distancing. I learned that I didn’t have to wait for theatre work to come to me; I could generate work myself. In hindsight, I didn’t actually know what art I wanted to make when I graduated UBC. It wasn’t until I began writing plays that I found my voice and had something to say about the world.”

Tragedy, Slander & Wine is one of the works Volpov began writing during the pandemic. “I felt troubled by how quickly conspiracy theories spread,” he says in the press release for the play. “I saw this cycle repeat after each major world event. Our abilities to engage in meaningful discourse eroded while our reliance on bias-confirming news increased. With so much misinformation online nowadays, how is anyone supposed to parse through what’s fact and what’s fiction?”

“Research shows that feelings of anxiety, disenfranchisement and isolation cause people to think more conspiratorially,” Volpov told the Independent. “People feel comforted by believing that their enemies cause their bad fortune (as opposed to random chance). One of the reasons conspiracy theories endure is because they have a backfire effect: when someone confronts a conspiracy theorist about their beliefs, it is interpreted as confirmation. Theorists think ‘of course, the higher powers want to convince me I’m wrong, that’s part of their plan.’ I don’t think conspiracy theories will ever go away, unfortunately.”

Nonetheless, Volpov is doing what he can to improve the situation, in addition to writing about it.

“Promethean Theatre partnered with a media literacy platform to provide education about the topic,” he said. “They are called Ground News and are a Canadian company based out of Kingston, Ont.

“I believe that there are many ways that people can combat their confirmation biases and to have a well-rounded knowledge about current events,” he continued. “The number one thing people can do is to read multiple sources about one story. I know it probably feels like a chore, but reading different perspectives can mitigate our political blindspots.

“After that, I recommend cutting your social media use when engaging with current events. Traditional media isn’t perfect, and it’s rightfully facing scrutiny from the public, but social media can be especially pernicious because the algorithm can steer people to engage with content that already supports their beliefs. Also, the algorithm boosts sensationalistic content while ignoring nuance, which I think is necessary for every discussion.

“My next piece of advice is, be diligent about claims you read. If information can’t be traced back to a source,” he said, “it can’t be verified as true.”

Tragedy, Slander & Wine is recommended for audience members age 16+ because of its “mature content, including references to substance abuse, murder and suicide.” Among the performances is a matinée for high school students Nov. 15, and artist talkbacks after the Nov. 18 and 19 matinées. For tickets, visit plainstage.com/events/tragedy-slander-and-wine.

Images and their impacts

Sergio Toporek made Beware of Images to educate people about the power of images. The documentary’s poster includes the pipe from René Magritte’s 1929 painting “The Treachery of Images,” which shows a pipe and, under it, the words, “This is not a pipe.” The Beware of Images website notes that, when Magritte was told he actually had created a pipe, he responded, “OK, you should try filling it with tobacco then.” (image from Sergio Toporek)

Sergio Toporek worked in advertising for more than two decades before realizing he had a problem – “I had become a tool of the market,” he admits in a 2013 CreativeMornings Vancouver talk that can be seen on YouTube. He decided then to become his own client, and to educate people about how images are being used. The result is the feature-length, animated documentary Beware of Images, which premières at Vancity Theatre July 27 and 28, with Toporek answering audience questions after each screening.

”I first conceived of the idea for a media literacy documentary about 10 years ago, but started working on it two years later,” Toporek told the Independent. “At first, I was doing it part-time, but gradually it took over most of my time.

“The documentary is based on a 24-hour course I teach at Vancouver Film School. The documentary and course have been influencing each other for the past decade and have evolved in parallel. The original script was five hours long, but I have been distilling it to its current 2.5-hour format.

“While the original idea was more focused on current technologies, the final piece has evolved to include much of the history of mediated representation,” he said. “The idea is that the best way to truly understand our current media environment is to understand how it came to be. There are explicit and suggested similarities between past and present technologies throughout the film. My hope is that we will be able to create a better media landscape by learning from past mistakes, mostly by encouraging the audience to be active participants to its future.”

photo in Jewish Independent - Sergio Toporek — Sergio Toporek *(photo from vfs.edu)*

In the 2014 Kickstarter campaign video for the documentary, which can also be seen on YouTube, Toporek explains that his aha moment came when he was given the opportunity to work on a Budweiser commercial in 2007. The way in which the advertising objectified women started him thinking differently, not to mention that he would be working to increase awareness of a product that didn’t need any more awareness, in his view. Add to that the fact that serious issues – many caused, in his opinion, by the corporations hiring him, such as consumerism, environmental pollution, racial stereotyping and glamorized violence – receive little attention, and are even “intentionally underreported.”

“The documentary is divided in 14 interconnected chapters,” said Toporek. “My hope is that educators can address specific media literacy subjects by screening its corresponding chapter. While the best way to experience the film is to watch it in full, short chapters on propaganda, advertising, race/gender representation, etc., can be very helpful to educators to set up and start a conversation.”

He will be promoting the film by screening it in educational and community settings around the world, he said. “I’m interested in the potential post-screening dialogue it can generate. After a year or so of touring with the documentary, I’d like to start writing a new film about the history of automation and its current implications.”

Toporek was born and raised in Mexico City. There, he studied photography and graphic design and earned the bulk of his living designing CD covers for Latin American musicians, work that dwindled after he moved to Vancouver in 1996 because of distance in part, but mainly because of changes in the music industry as it went digital. He was mainly earning his living in advertising by 2005, and joined the Vancouver Film School faculty in 2006. He has a master of education from Harvard University and “completed the thesis for Beware of Images at Stanford University based on research he conducted at the University of British Columbia,” notes the short bio on the film’s website.

“I grew up in a Sephardi-Ashkenazi family in Mexico City,” Toporek told the Independent. “Even though I became an agnostic at a very young age, my Jewish background has been essential…. The great value placed on education during my formative years was instrumental in fostering the constant pursuit of knowledge that has led me to embrace all culture – Judaism included – as a single field of studies.”

Since leaving advertising, making a living “has been one of the most difficult aspects to address,” Toporek admitted. “Commercial design and advertising can be very lucrative careers, particularly when compared to the severely underfunded educational sector. That said, there are many fulfilling rewards in education, even when they can’t be monetized. For now, I’ve made peace with the fact that my income will remain more modest than when I was serving the corporate world.

“For the past years, my income has come from teaching at VFS and from the odd commercial project I do when money becomes an issue. I am very lucky, though, to have a very supportive life partner. She has been an amazing champion of this project, helping it come to life with her constant understanding and encouragement.”

And what an ambitious project, trying to educate people about the power of images. Not only is he up against wealth and power, but ignorance. As he explains in the 2013 CreativeMornings talk: most people believe they can tell the difference between images and reality or are too sophisticated to fall for advertising campaigns, but our reaction to images is emotional not intellectual, and we like the illusions they create. It is our belief that we are immune to images that makes us so vulnerable to them, he contends.

So, he’s up against seemingly insurmountable odds – and others have tried before him (Naomi Klein and Adbusters, for example). In what ways will his efforts be unique or different?

“This is a great question, and one that I ask myself constantly,” he said. “I think that we all have a part to play in the media literacy discourse. There are no simple solutions or absolute victories, and there will never be. It is all just tendencies and gradual improvements. I see my work as a small contribution to a vast field of studies – studies that are as ancient as the Taoist cautious examination of language and as new as virtual reality.

“I greatly admire the work of Naomi Klein and the Adbusters Media Foundation, as well as that of media scholars such as Neil Postman and Jacques Ellul. I think that my work differs from theirs mostly in the way it is being delivered. While I think that the book is still the most nuanced and comprehensive medium we have to address complex issues, we are gradually shifting towards a visual and short-attention-span culture. In that respect, I think that Beware of Images talks about its subject in its own language and terms: images about images.”

For tickets to the July screenings, visit viff.org.